If The Light House is an uplifting tale of survival, Sarah Richardson’s Sun Bear gives a contrasting take on this. Sarah plays Katy. We’re introduced to Katy as she runs through a list of pet office peeves with her endlessly perky coworkers, particularly about coworkers stealing her pens. It’s a hilarious opening monologue that would have you wishing you had her as a coworker to help relieve you from the boredom of petty office politics. But something is not quite right in the perfect petty office, where people work together well. And that is her. And despite her protesting that she is fine, the pet peeves and the outbursts are becoming more frequent. As the piece progresses, maybe the problem lies in a past relationship, where Katy had to be home by a particular hour, not stay out late with office colleagues and not be drunk enough not to answer his calls. Perhaps the perky office colleagues are trying to help, and perhaps Katy is trying to reach out for help. It has simple staging
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Theatre: Season's Greetings
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Friday night I finally managed to catch Season's Greetings at the National Theatre. This revival of Alan Ayckbourn's black comedy has been showing since late last year and has received some great reviews. Set during the Christmas holiday period in the early 1980s, it focuses on an average English family Christmas where relationships have gone stale, children abound (although not on stage), and people have had a little too much to drink. I'm assuming that it is an average English family given the number of comments overheard during interval such as "that's a bit close to the bone" or "it reminds me of my family."
These were also rather curious comments given that the first act's final scene must rank as one of the funniest on stage for some time. It involves a sexual tryst gone wrong and a rather annoying toy that blows a whistle and beats a drum. I guess there are some English proclivities I might not fully understand.
Of course in some ways the hysterical brilliance of the first act makes the second act feel a little of a let down as realism and despair creeps in. But what makes this play so enjoyable is the incredible cast that includes Catherine Tate, Jenna Russell and Marc Wootton. Wootton has a particularly funny scene as a drunk in the second act in which his wife Pattie (played by Katherine Parkinson) has a novel approach for resolving.
The set design is a brilliant deconstructed 1980s house complete with brass down lights, a pink toilet (even though I couldn't see it from where I was sitting it was bound to have carpet on the floor) and vile wallpaper. The look of the show complemented the disconnection and isolation of the characters and takes you back to the era of acrylic and leaded petrol...
As the Audioboo below notes, we were all pretty impressed by the performance of Oliver Chris as the Clive, the interloper in the proceedings. This is a central character and his appeal gives some credibility to the story. Oh and his nipples were protruding from his sweater in the first half of the show. And that was strangely appealing as well and were giving their own performance throughout the first act.
The show is largely a sell out through to mid March but you can get day seats at the box office from 9.30 each morning on show days, particularly if you can't get tix to Frankenstein...
David McVicar's oddly modern production of Rigoletto is back at the Royal Opera House . This modern and minimalist dark production has evolved over the years. It is better lit now but there is still an orgy and full frontal nudity within the first thirty minutes. This enables anyone not in the stalls an excellent view of a flaccid penis and a nicely shaved bush. But as time goes it seems more and more superfluous to the main focus of this tragedy of a court jester who seeks revenge. Here is hoping that the production continues to evolve... Conductor John Eliot Gardiner keeps the music well paced. Dimitri Platanias in the title role sounded great and received a rapturous applause for his interpretation of the role. You get a sense more of the doting father rather than the court jester or cursed man here. Vittorio Grigolo plays the Duke and sounds too lovely to be the cad the role calls for, but it is hard not to like when he is on stage anyway. And it is easier to understan
Nowadays no self-respecting gay play can be staged without full frontal nudity of some kind. It feels like the default response for the modern gay play now that gay rights are no longer an issue . Afterglow, currently playing at Southwark Playhouse , serves it up in spades. From the beginning, three men are in a bed, naked. There’s what appears to be a very brief exhalation of ecstasy, before the obligatory rush to the shower. But the gratuitous nudity and excellent performances can’t conceal this is a pretty conventional and predictable story about a fantasy couple. The three men in the simultaneous orgasm at the start of the piece are Josh, Alex and Darius. Josh and Alex seem to live in a New York world where they can afford a rooftop apartment in Manhattan while holding jobs as a theatre director and a grad student in chemistry. As writer S. Asher Gelman based it on his own experiences, perhaps gay plays with full frontal nudity are the way to achieve financial security
Damn Yankees at the Landor Theatre is one hell of a fun, sexy show. A great cast of dancers and singers give this show about a man who sells his soul to get on his beloved baseball team (and give them a chance of winning) new legs and balls. It also helps to up the ante with the sexiness with some healthy doses of cleavage and legs (and that's just the men). The musical is a retelling of the Faust story set in the 1950s when the New York Yankees dominated the game.
